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JOSEPH PENNELL'S PICTURES 
OF WAR WORK IN AMERICA 



JOSEPH PENNELL'S PICTURES OF 
WAR WORK IN ENGLAND 

T> EPRODUCTIONS of a Series of Drawings and Lithographs of the 
^ Munition Works made by him with the permission and authority of the 
British Government. With notes by the Artist and with an Introduction 
by H. G. Wells. 51 Plates. Octavo. $1.50 net. 

JOSEPH PENNELL'S PICTURES OF 
THE WONDER OF WORK 

T> EPRODUCTIONS of a Series of Drawings, Etchings, Lithographs 
-■-^ made by him about the World, 1881-1915. With impressions and 
notes by the Artist. 33 plates. $2.00 net. 

JOSEPH PENNELL'S PICTURES 
IN THE LAND OF TEMPLES 

REPRODUCTIONS of a Series of Lithographs made by him in the Land 
of Temples, March-June, 1913, together with impressions and notes 
by the Artist. 40 plates. $1.50 net. 

JOSEPH PENNELL'S PICTURES 
OF THE PANAMA CANAL 

■p EPRODUCTIONS of a Series of Lithographs made by him on the 
-'-^ Isthmus of Panama, January-March, 1912, together with impressions 
and notes by the Artist. 28 Plates. $1.50 net. 

OUR PHILADELPHIA 

BY ELIZABETH ROBINS PENNELL 
ILLUSTRATED BY JOSEPH PENNELL 

Regular Edition. Containing one hundred and five reproductions of 
Lithographs by Joseph Pennell. Quarto, 7i by 10 ins. xiv + 552 pages. 
Handsomely bound in red buckram, boxed $7.50 net. 

Autograph Edition. Limited to 289 copies (now very scarce). Contains 
ten drawings reproduced by a new lithographic process in addition to 
the illustrations that appear in the regular edition. Quarto, xiv + 552 
pages. Specially bound in genuine English linen buckram in City colors, 
in cloth-covered box. $18.00 net. 



THE LIFE OF 

JAMES McNeill whistler 

BY ELIZABETH ROBINS PENNELL 
AND JOSEPH PENNELL 

New and Revised Edition 
T^HE Authorized Life, with much new matter added which was not 
available at the time of issue of the elaborate two-volume edition, 
now out of print. Fully illustrated with 97 plates reproduced from 
Whistler's works. Crown 4to, xx + 450 pp. Whistler binding, deckle edge. 
$4.00 net. Three-quarter levant morocco. $8.50 net. 



NIGHTS 

ROME— VENICE LONDON— PARIS 

In the Esthetic Eighties In the Fighting Nineties 

BY ELIZABETH ROBINS PENNELL 

Large Crown 8vo, 18 illustrations. $5.00 net 

PHILADELPHIA: J. B. LIPPINCOTT CO. 



Joseph Pennells Pictures 
OF War Work in America 

REPRODUCTIONS OF A SERIES OF LITHO- 
GRAPHS OF MUNITION WORKS MADE BY HIM 
WITH THE PERMISSION AND AUTHORITY OF 
, THE UNITED STATES GOVERNMENT, WITH 
NOTES AND AN INTRODUCTION BY THE ARTIST 




PHILADELPHIA AND LONDON 
J. B. LIPPINCOTT COMPANY 

1918 



COPYRIGHT, 1918, BY JOSEPH PENNELL 
"PUBLISHED JANUARY, 1918 






PRINTED BY J. B. LIPPINCOTT COMPANY 

AT THE WASHINGTON SQUARE PRESS 

PHILADELPHIA, U. 8. A. 



MAR 15 1918 
©CI.A494077 



-Vtf / 



INTRODUCTION— MY LITHOGRAPHS OF WAR WORK 

I HAVE come back from the Jaws of Death — back from the 
3Iouth of Hell — to my own land, my own people. I have never 
passed such an exciting year in my life — and beside, I hope I have 
been able to accomplish something in my work which shall show one 
phase of the Wonder of the World's AVork of to-day. I was honoured 
a year ago by being permitted by the Rt. Hon. David Lloyd George, 
then Minister of INIunitions in England, to make drawings in the vari- 
ous factories and works and shipyards which were engaged in war 
work in that country — and the records of what I saw were published 
as lithographs of War Work in England and in a previous volume 
in this series. Now, though I do not believe in war, I do not see why 
some pictorial record of what is being done to cany on the war should 
not be made — made from an artist's standpoint — for we are in it — 
being in the world — but I am not of it. 

When my work — or as much of it as I was allowed to do — was 
finished and exhibited and published — I was invited by the French 
jNIinister of INIunitions, M. Albert Thomas, to visit the front and 
make studies of similar subjects in France, but — owing to a com- 
bination of unfortunate circumstances — though I went to France 
twice during the Summer of this year, I was unable to get anything 
of importance. This was my fault, or my inisfortune — I failed — and 
the memory of my failure will haunt me, and be a cause of regret to 
me, all my life — unless I am able to wipe out my failure — in another 
visit to France. But though I failed to make any drawings — any 
records of the subjects I was so freely shown — I was shown on my 
two visits many subjects, which were supremely interesting, could I 
have but drawn them — had I been able to do so they would have 
been worth doing. Not only was I taken to the front, which was not 
the part I saw, picturesque, but I was also taken to see some of those 
parts of France which have been fought over, some of the towns which 
have been destroyed, some of the land which is desolate, and I have 
also seen some of the French munition factories. Then I came 
home, for I believe the place for an American at the present time is 



at home. And on my arrival I was authorized to make records by our 
Govermnent similar to those I had made in England, and had failed to 
make in France — what I have done in the United States is shown in 
this book. 

I have had more opportunities of seeing what is being done in 
war work in England, France and the United States than any one 
else — and in a fashion that no one else has been permitted to see. I 
have seen war in the making. Yet I did not do these drawings with 
any idea of helping to win the war, but because for years I have been 
at work — from my earliest drawings — trying to record The Wonder 
of Work, and work never was so wonderful as it is to-day. And never 
had any one such help — such aid, such encouragement given him to 
record its wonder — and by the Governments of the three great coun- 
tries which are engaged in " this incredibly horrible, absolutely unneces- 
sary war, easily avoided war," to quote a British Statesman. 

Not only have I seen the Wonder of Work in these three lands — 
but before the war I saw it in Belgium, Germany and Italy. I have 
drawn it everywhere, save in Luxembourg, and there, too, I have seen 
it — but made no drawings — for it was so easy to get to that land — 
and so that country was put off for a more convenient season — a season 
I fear which will never come again. I am not going to make com- 
parisons — but I am going to say that the Wonder of Work is more 
wonderful in the United States than anywhere else in the world to-day. 
True, we are not working with that unbelievable energy which the 
French and English — yes, the English — have put at last into their 
work— but we do so much more — with so much less — appearance of 
work — we are working for the Allies — but they are not working for 
us. And we are doing for them what they cannot do for themselves. 
In Europe the war worker works all day and every day in the year. 
Here most of the great industrial works have only added war work to 
their peace work, in Europe scarce anything else but war work is 
being done. 

And also in America the women have not to any extent gone into 
the factories, mills and shipyards of the country. And I hope they 
never will. I have never seen a woman shell maker here, yet I know 
of factories in France and England where there are scarce any work 

6 



people, save women, one where there are ten thousand women. Here 
they are only making fuses and doing other light work, but I have not 
seen a woman at a lathe as I have seen them in France and England. 
I have never seen a woman ship builder here — yet I have seen women 
in shipyards abroad doing work that men would have grmnbled at when 
put to it — because it was thought hard work — before the war. 

And I am glad that our women are not forced to undertake such 
work, and hope they never may be, for I have seen the black side of 
this work, which already has led to strikes and labour troubles in 
Europe — and when the war is over, will lead to greater trouble — for 
the Captains of Industry in Europe tell me that women run machines 
better than men — they devote themselves to the machine — never try 
to improve it — to make changes in it — only to keep it going and in 
good order, while the man is always trying to improve it, to make it 
do more, so that he can do less. " Stick matches in it," one manager 
said — while the women just run the machines as they are shown how. 
But making shells is more interesting than washing dishes, or waving 
flags and marching in parades — and more exciting — but there will be 
an end to that some day; and the lathes — which have been turned to 
war work — will be turned back to peace work — and the question is, 
will the women go back to their dishes? — and if they do not there will 
be more trouble. I have seen a women's strike — or a little of it — for 
with the manager who was showing me around, I left at once. It was 
not an orderly, peaceful, or womanly strike. That shop was no place 
for me. Those women were not lady-like. 

But just as the greatest human energy has been given to war work, 
given to make things to explode, to kill, to destroy; so the greatest 
machines have been turned to do this work with the greatest skill and 
accuracy and the greatest speed — the workers are but a necessary 
detail — and it is the working of the great machinery in the great mills 
which I find so inspiring — so impressive — for the mills are shrines of 
war. The mills are the modern temples and in them do the people 
worship. And if only the engines turned out were engines of peace — 
how much better would the world be — but everything made in a war 
factory is made to destroy and to be destroyed. But one must not 
think of that, for if one did the war would stop, and not every one 

7 



wants it to stop — or it would stop to-day — a universal demand for 
peace would make peace, — really would have prevented war. But 
war work in America is the most wonderful work in the world and that 
is the reason why I have drawn some of the work I have seen— seen in 
these endless looms of time — where history is being woven. The atti- 
tude of the workman toward the artist is curious ; in France he under- 
stands, in England he looks down on you as a poor thing who has to 
work — in America you are regarded as a fellow workman, as an artist is ! 

I want to thank the Secretaries of the Navy and of War, Messrs. 
Daniels and Baker, Mr. Creel and the other members of the Board 
and staiF of the Committee on Public Information, and the various 
heads of the various sub-departments of the Army and Navy, who 
stood my pestering and querying and obtained for me permission to 
visit every industrial establishment I wanted. In every plant, camp, 
yard, works, field, which I wanted to work in — I was taken to, and 
treated with courtesy. I should like to thank and mention by name the 
various officials, government and civilian, who gave me every facility 
to see and to draw everything I wished in the War Works they directed 
— but we are at war — ^and I am not permitted to say where these 
drawings were made, and if I mentioned the names of some of the 
directors of these works the places in which I made the drawings would 
be known. As it is, I imagine many of them are pretty well known 
already. 

Finally I wish to thank my life-long friend. Dr. F. P. Keppel — 
who suggested, directed, arranged, calmed down and cheered up all 
those with whom I was brought in most interesting contact. He 
knows what he did and I know — and I shall not forget. 

Philadelphia, Thanksgiving Day, 1917 Joseph Pennell 






LIST OF ILLUSTRATIONS 

^THE Keel I-fe. 

Under the Shed II f- 

i-^HE Armor Plate Press III"^ 
i^Ix THE Land of Brobdignag : The Armor Plate Bending Press IV t 

i^BuiLDING THE BaTTLE ShIP Vf 

;< Making a Turbine Engine VI 

^Making Propeller Blades Vll-t- 

. The Prow VIII > 

^ Ready to Start IX 

- The Collier X-.' 

^Building Submarine Chasers XI i 

. Building Destroyers. No. One XII - 

'"Building Destroyers. No. Two XIII- 

i^In the Dry Dock XIV ^ 

^The Old and the New XV + 

•^ Submarines in Dry Dock XVI + 

. The Transports XVII- 

/Ready for Service Again XVIII- 

^The Balloon Shed XIX-> 

The Larks XX + 

^jNIaking Rifles XXI "^ 

-The Forges XXII -. 

-Casting Shells , XXIII - 

•^Forging Shells: The Slaves of the Wheel XXIV + 

i^The White and the Black Hammers XXV " 

"^HELL Factory No. Two: From Shop to Shop XXVI* 

VShaping a Gun From an Ingot XXVII "^ 



-The Gun Pit. No. One XXVIII -» 

-The Gun Pit. No. Two XXIX- 

^The Gun Factory XXX-r 

^The Biggest Lathe in the World XXXI - 

^HE Gun Testing Ground XXXII + 

kThe Riveters XXXIII -^ 

•^ Building Engines for the Allies XXXIV 4" 

^HE Flying Locomotive XXXV "f" 

•^The Camp : The New Architecture XXXVI ~~ 



I 

THE KEEL 



I THE KEEL 

THE shipyards are endless and their forms are endless 
and ever new — but I never before found one where 
from the water I could look down on the ship while it grew 
as it did here, amid its forests, its walls — which it, in turn, 
w^ould soon tower over. 



II 

UNDER THE SHED 



II UNDER THE SHED 

IT seemed as though this yard was built for me, and if 
it was not that I found it so practical, I should have 
thought it only pictorial. 

But in the shed in rows, in piles, in layers, lay every 
part of the ship ready to fit together — all in order. As I 
drew, boats and boilers came out of the shop and went to 
their places on board. 



Ill 

THE ARMOR PLATE PRESS 



Ill THE ARMOR PLATE PRESS 

THE English maker rolls rapidly his armor plate in 
heat and smoke and flame. The American slowly 
presses it, but with a press so powerful it will crush the 
huge ingot — so sensitive that it will not crack a watch 
crystal placed under it. 



IV 

IN THE LAND OF BROBDIGNAG: THE ARMOR 
PLATE BENDING PRESS 



IV IN THE LAND OF BROBDIGNAG : THE ARMOR 
PLATE BENDING PRESS 

ONLY Swift never imagined, and Gulliver never saw, 
presses and ladles and chains and cranes like these, 
but I have seen them, and there is no imagination in my 
study of the press or the ladle. A press so powerful it will 
slowly bend the thickest plate. A ladle so big the men were 
lost in it. 



V 

BUILDING THE BATTLE SHIP 



V BUILDING THE BATTLE SHIP 

INSIDE the huge shed where she was built and launched 
she lay getting her finishing touches — or rather those 
that could be given her, for her masts were too big to 
finish, her turrets were being fitted and her turbines put 
in — and soon she would begin her life of terror and horror. 



VI 
MAKING A TURBINE ENGINE 



VI MAKING A TURBINE ENGINE 

THIS is the finest shop, in which the most impressive 
work of modern times is done and it is " somewhere in 
America " ; and as I worked away after five, one man said — 
" Wot's ver hours, mate? " 



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VII 
MAKING PROPELLER BLADES 



VII MAKING PROPELLER BLADES 

BLUE in the shadoAVS and such blue — gold in the lights 
and such gold — were those blades — in this great shop 
— and as I worked the engine steamed in and carried one 
of the propellers off, to fit in the ship, standing in the dock 
just outside. 



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VIII 
THE PROW 



VIII THE PROW 

VERY pretty drawing," said the officer when I showed 
him this leering, staring, slobbering monster, the 
spirit of war, a creation of our time and our country. It 
is fascinating but intolerable. 



IX 
READY TO START 



IX READY TO START 

DIGNIFIED, solemn, immense she stood, held to the 
long dock by the great cables ; and the great cranes 
swung great carloads of war work aboard her, as fast as 
the engines could bring them. 

On land she was guarded by marines. In the air the 
Planes were guarding her. 






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X 

THE COLLIER 



X THE COLLIER 

^HIS Is a Freighter and Collier and the huge erections 
on its decks are cranes and derricks, by which other 
ships are coaled and loaded at sea. The system is not new, 
but I imagine many landsmen, like myself, till I drew it, 
had never seen such a creature. 



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XI 
BUILDING SUBMARINE CHASERS 



XI BUILDING SUBMARINE CHASERS 

ALL round the big ship the little boats gathered — being 
-built out oi' doors, anywhere near the water, into 
which the crane swings them as soon as they are ready. 
It is like this they are being built all over the country. 



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XII 
BUILDING DESTROYERS. NO. ONE 



XII BUILDING DESTROYERS. NO. ONE 

AMID the great ways, the little destroyers arc built. 
While the work of building is going on, there seem to 
be no workmen about — though the noise they make is terri- 
ble. The various parts of the ships lie about apparently 
in confusion, but the crane knows what it wants and where 
to find it, and picks it up and carries it to its proper place. 
It is only when the men knock off that you see what an 
army is engaged in shipbuilding. And it was too funny to 
be told as I went about — I must not smoke — yet hundreds 
of drills and riveters were shedding showers of sparks and 
there is nothing but iron to be seen. 



XIII 
BUILDING DESTROYERS. NO. TWO 



XIII BUILDING DESTROYERS. NO. TWO 

HOW the cranes minister to the ships, carrying them 
the things they want, lowering them gently into the 
places where they belong and then hovering over the vessels 
they are building to see that everything is in its proper 
place — the cranes do it all — the men who rmi them are 
mere details. 




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XIV 

IX THE DRY DOCK 



XIV IN THE DRY DOCK 

THESE are the things that tower — that shine — whose 
power is terrible — but their smile does not nuake glad. 
The admiral said he could not see the ship like that — 
"Don't you wish you could?" was the only answer I 
could think of. 



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XV 

THE OLD AND THE NEW 



XV THE OLD AND THE NEW 

WHETHER the old wooden ship is finer in line than 
the new steel monster is more than I can decide, but 
I do know that both are well worth drawing. 




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XVI 
SUBMARINES IN DRY DOCK 



XVI SUBMARINES IN DRY DOCK 



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HERE they lay in long lines — soon to be ready to start 
on their venturesome voyages. 



XVII 
THE TRANSPORTS 



XVII THE TRANSPORTS 

THE spoils of war, for what had been great traders were 
now to be great troop ships — and with their transfor- 
mation what an awful change has come to our world. 






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XVIII 
READY FOR SERVICE AGAIN 



XVIII READY FOR SERVICE AGAIN 

IUST as retired Officers have offered their services again 
to the Country — so these old Ships, even more pictorial 
than the new, are being found places where they can do 
their " bit." 



XIX 

THE BALLOON SHED 



XIX THE BALLOON SHED 

I ONLY know of this one " balloon shed " in the country 
— probably in design it is out of date — but pictorially 
it is fine. 




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XX 

THE LARKS 



XX THE LARKS 

HARK, Hark the Lark," this one sings a song too, all 
his own, as he soars up to greet the coming sun, then 
away to battle or to train for it. Our Lark. 




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XXI 

MAKING RIFLES 



XXI MAKING RIFLES 

GALLERY after gallery is like this in the great build- 
• ing, all filled with tiny men working at tiny ma- 
chines making the tiny guns they fight with ; and over 
them hangs the flag of the country, put there, the director 
told me — not by the management — but by the nuen. 



XXII 
THE FORGES 



XXII THE FORGES 

HOW fine are the forges — but one man said as I drew 
the figure leaning back to rest — " Hully gee ! 
He's got Creeper all right. Look at his pants ! " But 
the noise is awful — and one day as I sat on a bit 
of boiler a roar ten times worse than ever before 
broke out beneath me and I jumped right off, and from 
the boiler crawled a grimy human who, putting his hand 
to his mouth, yelled " What yer making all that racket 
fur?" 



XXIII 
CASTING SHELLS 



XXIII CASTING SHELLS 

SLOWLY the ladle moves, carried by the crane man, 
steered by the workmen, goggled and gloved — I had 
no time to draw those details. Into each mould it dropped 
just enough molten metal to make a shell head. And when 
all the moulds were filled, a man from another shop dropped 
in — " Say, what youse up to now? " " Me — I'm makin' 
shells for the Kafser." " What ! an' here? " " Sure "— 
and as a French Inspector passed — " Ain't we sending 'em 
to him as quick as we kin? " 



XXIV 

FORGING SHELLS: THE SLAVES OF THE WHEEL 



XXIV FORGING SHELLS : THE SLAVES OF THE 
WHEEL 

NO composition could be finer, no movement more ex- 
pressive, no grouping more perfect, and yet all this 
was happening every day and all day in an oily, dirty, 
greasy, smoky shell factory where no artist had ever 
worked before and the workmen, black men, were turning 
the big shell, under the big hammer, by the big capstan 
wheel that held it, and I noted in the shop that the black 
men saw more in my drawings than the white, yet there's 
only one black painter in the country. 



XXV 

THE WHITE AND THE BLACK HAMMERS 



XXV THE WHITE AND THE BLACK HAMMERS 

THE biggest hammer in the world, said the foreman, 
maybe — any way the Shop was amongst the most pic- 
torial of all those I have drawn devoted to shell making. 
" Say, friend," said the workman, " won't they let yer 
use a machine, in war time, is that why youse does it 
by hand? " 



XXVI 
SHELL FACTORY XO. TWO: FROM SHOP TO SHOP 



XXVI SHELL FACTORY NO. TWO: FROM SHOP 
TO SHOP 

THE contrast between the dark old shop and bright 
new one was wonderful. 

" Pretty good, Dad," said a precocious apprentice. I 
suppose they don't mean anything but compliments, still 
I never fail to lose my temper, then the peace maker ap- 
pears — " Don't mind that kid, mate, he dunno no better, 
he's edurkated." " Say, wot paper's it comin' out in — 
I'll buy that paper." That was a compliment. 



XXVII 
SHAPING A GUN FROM AN INGOT 



XXVII SHAPING A GUN FROM AN INGOT 

WHEN the ingot comes from the furnace, it is put in 
this press, deep buried in a pit, and the hot metal is 
compressed into the shape of a section of a great Gun — 
then it is taken out and bored and planed and finally, after 
about a year of work, the gun is ready to do its work. 



XXVIII 
THE GUN PIT. XO. ONE 



XXVIII THE GUN PIT. NO. ONE 

THESE Pits which I have drawn in Europe and 
America have the greatest individuality of all the 
processes of war industry. The buildings are most im- 
pressive, towering, windowless, sombre without, very 
spacious within, filled with strong shadows and strange 
shapes. 

And as I looked out from the blackness to the ore 
crane, making new ranges of Alps on its hillside, I 
wanted a gun — or rather wanted to know how it was 
moved. 

" Why, bring him one," said the manager — and it came 
and posed while I drew, and was such a good sitter. 
And so I find niv studio and mv models Avherever I work. 



XXIX 

THE GUN PIT. XO. TWO 



XXIX THE GUN PIT. NO. TWO 

^T O better proof could be shown of the way each big 
^ plant puts big character into its products than this 
and the previous drawing. Here everything is done deep 
down under ground ; in the other shop it is all above, away 
up high in the air. And one day, they told me, the Presi- 
dent of the Company passed with a party — and he saw 
a man, tired out, sitting with his head in his hands. 
" Wliy don't you clean out the pit, boy .^ " "Well, Sammie, 
if you want to know why, you go down an' find out for 
yourself." 



XXX 

THE GUN FACTORY 



XXX THE GUN FACTORY 

SO like a British one, that I wonder which one got the 
idea of arrangement of the Shop from the other. 
Here the guns are turned ; and one man said to me : " Well, 
I don't know whether I'll be drafted by the IT. S. — but I 
do know, I'd sooner waste my time makin' guns, than spend 
it havin' 'em shot at me by some Dutchman." 



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XXXI 

THE BIGGEST LATHE IN THE WORLD 



XXXI THE BIGGEST LATHE IN THE WORLD 

MANY of the subjects I have chosen are probably 
the " biggest in the world " and the most impressive, 
too — that is the reason why I have drawn them. I have 
seen great lathes and great guns in Europe, but this one is 
certainly greater than any other. 

" You couldn't do that, Fatty," said the man. 
" Couldn't I," said the other. " You bet I could if I 
had been drawin' lathes as long as him ! " It was the second 
one I have drawn. 







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XXXII 

THE GUN TESTING GROUND 



XXXII THE GUN TESTING GROUND 

INTO the rocky cliff great holes had been bored, and into 
them- the Guns mounted on their carriages, by the great 
gantry, were fired, passing through wires hung from 
screens, to test their velocity. One thing that interested 
me, standing behind the guns— interested me too much, 
really — was, that there was no smoke, save that which came 
out of the hole where the shells exploded. And another fact 
was, that I could not see the shell in its flight — nor can 
those at whom it is fired — it goes so fast the sound cannot 
keep up with it. Sight cannot follow it. 



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XXXIII 
THE RIVETERS 



XXXIII THE RIVETERS 

WHAT perpendicular cathedral is as full of mystery 
as this shop. I know of none and I know most of 
them, and when the fires glow on the work altar, and the 
great jaws pierce and rivet the boiler plates, then is heard 
the Hymn of Work. 



BUILDING ENGINES FOR THE ALLIES 



XXXIV BUILDING ENGINES FOR THE ALLIES 

IN serried lines they stood^ — first one for Russia — then 
one for France — and on the other side several for our- 
selves — and I said, " Why, this is Ford's idea ! " for the 
parts came in at the sides of the shop and the finished en- 
gine steamed out at the end. " Oh, yes ! " said the manager, 
" only we have been doing it twenty years," and now they 
build a locomotive in four days. 




*^— 



XXXV 

THE FLYING LOCOMOTIVE 



XXX\' THE FLYING LOCOiAIOTIVE 

YES, locomotives can soar — can fly — and, like Ma- 
homet's coffin, stand in the air ; and they do these 
things in a blaze of glory — because the shop where they are 
built is not big enough to shift them about in any other 
way. As the engine sailed toward me I tried to make a 
note of it. " Why would you like to draw it.^ " said the 
manager, as I frantically went on making notes of the ap- 
proaching monster. "Which end would you like up.''" 
He made a signal, they don't talk in these shops, it stopped 
and there it hung. " Bring on another," signalled the man- 
ager- — and so I drew and so the creature posed till I had 
finished — an excellent model in a wonderful studio. 




-^ 



XXXVI 

THE CAMP: THE NEW ARCHITECTURE 



XXX\ I THE CAMP : THE NEW ARCHITECTURE 

IN the centre of the new city is something like a long 
train of box cars — yet when you see their sides you find 
they are houses. As you look they grow — and from a few 
holes in the ground till the building is finished takes about 
forty-five minutes, the architects tell me. They are better 
built than the English Munition towns — they are unbeliev- 
able — these Cities of fifty thousand inhabitants built while 
the army was formed. This drawing is but a bit of one 
of them — to right and to left and behind the town stretched 
— the embodiment of usefulness, respectability — a triumph 
of ugliness and energy. 













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HECKMAN 

BINDERY INC. 
,#^ NOV 84 

i^*' N. MANCHESTER, 
N^^ INDIANA 46962 



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